Visual media in history class

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Visual media in the teaching of history and history teaching visual media are basically sources and representations of past encoding in their objectivity in a way, and are formatted to the learners dominant in perception in some form of image face. This distinguishes them from other historical didactic media groups / source types such as texts, audio pieces or material objects or remains .

Photographs in history class

The use of photographs in school books and in history lessons has increased considerably in recent decades due to the changed reception habits. They either take on the function as a source or serve for illustration.

When using photographic sources in lessons, it must be noted that the 'reality' reproduced in the medium is “restricted, broken and influenced from outside in many ways”. The meaning of an image source is only generated through the respective discourse.

Different approaches can be chosen for the use of image sources in history lessons. The three-tier model of the art historian Erwin Panofsky is often used. This model was recently subjected to a historical didactic revision by Hans-Jürgen Pandel , expanded and adapted.

In the more recent discussion ( Gerhard Paul , Christoph Hamann ), the history of the creation and processing of historical photographs is the focus of historical didactic interest. These uses and instrumentalizations should be a central interest of the history lesson ( visual history ).

Films in history class

Films are extremely popular due to their widespread use and their attractiveness and therefore have a significant impact on historical culture. Films re-tell historical events and thereby reinterpret them, whereby the producers, screenwriters and directors do not all rely on scientific knowledge and methods, but are guided by other interests such as those of entertainment or marketing. The use of feature films in the classroom therefore requires a critical approach to the presented content, at the same time it enables the historical culture to be made explicitly the topic.

Films have been shown to be highly effective. However, the learners fail to distinguish between what the film is historically plausible and what is pure fiction. This distinction must be addressed and the deconstruction competence of the learners promoted in the discussion about it . Films of all kinds can be discussed in class with regard to their:

A documentary does not necessarily depict the past more realistically, as it can, for example, also be politically instrumentalized. In addition to the feature film and the documentary , cinematic evidence should also be emphasized. Films embed historical events, epochs and characters in a narration , which is why they perform what the history lesson demands of the learners.

If films are used in the classroom, it is necessary to process them with a method similar to source criticism . The aim is to grasp the core of the statement and to develop your own historical image from it . Points to be considered here are: Truth, effect, criticism of the representation and historical culture in everyday life, which also influence the individual view. Research on the effectiveness of films has also addressed these three levels - facticity , the attitudes of individual people (groups) to historical topics, and the creation of social meaning . It is precisely the qualitative investigation of “what viewers actually see in the films” that ultimately forms the prerequisite for effectively conveying historical facts and historical culture in class.

Caricatures in history class

Caricatures depict facts or events in a condensed and pointed manner. This can be beneficial for history lessons, but it also harbors the risk that tendentious value judgments will be accepted by the learners without questioning. Caricatures are often used as an introduction to a topic or in systematisation and value judgment. There are, however, positions that, because of their semantic complexity, make the caricatures the subject of the development phase.

The value of the caricature for historical thinking and learning lies in the fact that the learners are encouraged to think critically and are encouraged to interpret the historical facts by carefully examining value judgments . The complexity of the cartoons requires a thorough study and explanation of the symbols , types, and collective stereotypes used . Caricatures offer the opportunity to incorporate multiple perspectives into history lessons. The analysis of a caricature can take place in the classic three step of description - analysis - interpretation / judgment.

Maps in history class

Due to their complexity, history maps and historical maps often create distance at first glance and are not easily accessible to learners. Only when the learners are able to decode and understand the various elements of the map can they read the map and recognize and interpret the wealth of information.

When analyzing history maps, three main phases can be identified:

  1. Orientation phase: reading the title as the key to understanding; Study of the explanation of symbols (legend) as the key to unlocking the map; Observance of scale, colors, lettering.
  2. Information and processing phase: Which information (topic, space, time) can be read from the map and how can it be collated? What information does the card not provide?
  3. Interpretation and evaluation phase: What are the findings in combination with the previous knowledge of the learners or the comparison with other media? What new questions arise? The following criteria should be taken into account: intention, perspective and objectivity of the map.

literature

  • Hans-Jürgen Pandel, Gerhard Schneider (Hrsg.): Handbook media in history lessons. Wochenschau-Verlag, Schwalbach / Ts. 1999. 6th edition 2011, ISBN 3-899-74665-1 .
  • Michael Sauer: Pictures in history class. Types, methods of interpretation, methods of teaching . Kallmeyer, Seelze-Velber 2000, ISBN 978-3780049230 .
  • Hans-Jürgen Pandel: Image interpretation. The image source in history class . Wochenschau-Verlag, Schwalbach / Ts. 2008, ISBN 978-3899742596 .
  • Susanne Popp, Michael Sauer, Bettina Alavi, Marko Demantowsky, Gerhard Paul (eds.): Contemporary history - media - historical education. Supplements to the Zeitschrift für Geschichtsdidaktik, Volume 2. V&R unipress, Göttingen 2010, ISBN 978-3-89971-653-5 .
  • Christoph Kühberger (Ed.): Thinking History. For dealing with the history and past of secondary school students using the example of feature films. Empirical findings - diagnostic tools - methodological information. Austrian contributions to historical didactics, vol. 7. Studienverlag, Innsbruck / Vienna / Bozen 2013, ISBN 978-3-7065-5260-8 .
  • Christoph Pallaske (Ed.): Media make history. New demands on the historical didactic concept of media in the digital transformation. History didactic studies, Vol. 2. Logos Verlag, Berlin 2015, ISBN 978-3-8325-3956-6 .

Web links

Single receipts

  1. ↑ Hilke Günther-Arndt: A new historical didactic media concept in view of digital change? In: Christoph Pallaske (Ed.): Media make history. New demands on the historical didactic concept of media in the digital transformation . Logos, Berlin 2015, ISBN 978-3-8325-3956-6 , pp. 17-36 .
  2. ↑ Christoph Hamann: Image sources in history lessons . In: Michele Barricelli u. a. (Ed.): Handbook Practice of History Teaching . tape 2 . Wochenschau, Schwalbach 2012, ISBN 978-3-89974-783-6 , p. 108–124, here 108 .
  3. ↑ a b Michael Sauer: Photography as a historical source . In: History in Science and Education . tape 53 , no. 10 , 2002, ISSN  0016-9056 , p. 570-593, here 571 .
  4. ^ Hans-Jürgen Pandel: Image interpretation. The image source in history class . Wochenschau, Schwalbach 2008, ISBN 978-3-89974-259-6 .
  5. ^ Christoph Hamann: Visual History and History Didactics. Picture expertise in historical and political education (=  number of historical science . No. 53 ). Centaurus, Pfaffenweiler 2007, ISBN 978-3-8255-0687-2 .
  6. ^ Gerhard Paul: From the historical image to the visual history . In: ders. (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, ISBN 978-3-525-36289-1 , p. 7-28 .
  7. ^ Sabine Moller: Movie-Made Historical Consciousness. Empirical answers to the question of what can be learned about history from films . In: History in Science and Education . tape 64 , no. 7/8 , 2013, ISSN  0016-9056 , p. 389-404 .
  8. ↑ a b c Oliver Näpel: Film and History. "Histotainment" in class . In: Michele Barricelli u. a. (Ed.): Handbook Practice of History Teaching . 2nd Edition. tape 2 . Wochenschau, Schwalbach 2017, ISBN 978-3-89974-783-6 , p. 146-170 .
  9. ^ A b Hans Utz: "Too short films - too long texts". Film clips in class . In: History do science and teaching . tape 59 , no. 1 , 2008, ISSN  0016-9056 , p. 28-35 .
  10. ↑ a b Ulrich Schnakenberg: The caricature in history lessons . Newsreel, Schwalbach / Ts. 2012, ISBN 978-3-89974-757-7 .
  11. ^ Hans-Jürgen Pandel: Caricatures. Drawn commentary and visual editorials . In: Hans-Jürgen Handel u. a. (Ed.): Handbook media in history lessons . 5th, exp. Edition. Newsreel, Schwalbach / Ts. 2010, ISBN 978-3-89974-665-5 , pp. 269-290 .
  12. ↑ Michael Sauer: Pictures in history lessons. Types, methods of interpretation, methods of teaching . Kallmeyer, Seelze-Velber 2000, ISBN 978-3-7800-4923-0 , p. 110-112 .
  13. ^ Ulrich Schnakenberg: History in Caricatures 1900-1945 . tape 2 . Newsreel, Schwalbach / Ts. 2014, ISBN 978-3-89974-998-4 .
  14. ^ Edda Grafe, Carsten Hinrichs: Pictorial sources and representations . In: Hilke Günther-Arndt, Meik Zülsdorf-Kersting (eds.): History didactics. Practical handbook for secondary level I and II . 6., revised. Edition. Cornelsen, Berlin 2014, ISBN 978-3-589-16309-0 , pp. 100-131 .
  15. ↑ Christina Böttcher: The card . In: Ulrich Mayer u. a. (Ed.): Handbook media in history lessons . 5th, exp. Edition. Newsreel, Schwalbach / Ts. 2010, ISBN 978-3-89974-665-5 , pp. 184-209 .
  16. ↑ Michael Sauer: Teaching History. An introduction to didactics and methodology . 7th edition. Friedrich, Seelze-Velber 2008, ISBN 978-3-7800-4925-4 , p. 246-254 .